January Pick

Paper Crown by Heather Christle

Published Wesleyan University Press (2025)

I had the chance to hear Heather Christle read at the DeKalb Book Festival, and it made an already beautiful collection feel even more intimate. There’s something rare about encountering a poet whose presence matches the tenderness on the page: compassionate, sweet, and a bit quirky. Hearing the work aloud underscored what the book does so well—just an honest mind and open heart moving through the world, noticing.

This collection is built on ruminations. And Christle doesn’t rush toward conclusions; she lingers and lets the art of the process stay visible on the page. That openness is part of the power. The poems feel alive in the moment they’re being made, as if you’re witnessing thought turn into image. And what images! The language feels fresh and surprising without being showy. There’s a clarity to the lines, but also a shimmer: the sense that what you’re reading is both exactly what it says and more than it can say at once. The book keeps offering scenes and sensations that land with a clean, bright force.

That’s what makes Paper Crown such a lovely read: it’s intelligent without becoming distant. It trusts the reader to stay present. It trusts the image to do its work. And it trusts the smallest observations—those fleeting interior flashes we usually let pass—to tell a story.

This is the kind of collection that reminds you why small presses are essential. They take chances on books that don’t fit neat commercial expectations—books that are stranger, sharper, more idiosyncratic, more human. A crown made of paper—and yet somehow sturdy enough to wear for days.

🔗 Purchase from Wesley University Press

NOVEMBER PICK

Upon Learning That, Curated & Edited by Alex Dawson

Published KDP (September 2025)

Upon learning that, Upon Learning That existed, I was already halfway in love with it. I’m familiar with the curator of this anthology, so it’s no surprise that every poem here is of such high caliber. What did surprise me is how seamlessly these pieces come together to create a truly beautiful, almost gleefully curious reading experience.

The premise is genius: each poem orbits around a specific fact, but what emerges is so much more than trivia. I’ve never read a poetry book where I was this excited just to move from title to title, feeling that little spark of anticipation—what could possibly come next?

If you love unique facts that seem to hold more wonder than the facts themselves, you’ll love Upon Learning That. It’s the kind of book that makes you feel both smarter and also more connected to the world around you by the last page, and it’s one I’ll be pressing into the hands of poetry people AND “I don’t really read poetry” people alike.

🔗 Purchase from Amazon

AUGUST’S PICK

A Reading, by Shelley Lloyd

Published Bottlecap Press (August, 2025)

Shelley Lloyd’s A Reading is a deft example of the hybrid prose-poem/creative-nonfiction chapbook: compressed at the sentence level, capacious in scope. Across thirty-two pages, the book braids scenes, with a touch of aphorism, into a voice-driven meditation on time, displacement, disability, and the strange glitching elasticity of ordinary life.

Lloyd takes us by the belt loops and shows us what it’s like to be them for a while. The effect is hospitable and instructive: sometimes the prose slips into mini-tutorials, teaching us their hobbies and rhythms, the small rituals that keep a life stitched together when larger structures wobble. That pedagogical undertone doubles as ethos; we trust the speaker because they show their working out of situaitions—how attention is paid, how meaning is made, how a body moves through rooms, concerts, and calendars.

Lloyd’s scholarly background is evident; the sentences know what they’re doing; the arguments arrive sideways, through image and arrangement. The result is this resilient poetics of coping: writing and neurodivergence are framed as methods of survival and resistance, while remaining flexible enough to bear the weight of unstable days ahead.

🔗 Purchase from Bottlecap Press

Buying direct supports the author and helps keep small press poetry thriving.

JULY’S PICK

Where the Beetle Went for Lunch, by Sonja Ringo

Published (June 8, 2021)

Reading this collection felt like finding kinship in the wild—like stumbling upon someone who not only notices the small, sacred things, but holds them with reverence. Sonja Ringo’s Where the Beetle Went for Lunch soothed something deep in me. There’s a gentleness to her language, but a fierce, rooted love underneath.

The book is divided into five elemental sections: Earth, Air, Fire, Water, and Spirit, and within each, the poems observe nature yes, but they also listen to it. There’s a quiet reverence throughout, a sense that every beetle, breeze, and birdsong is part of a shared and bigger conversation.

Pairs well with: A warm cup of rooibos or chamomile. At 128 pages, Where the Beetle Went for Lunch is a grounding, elemental read—perfect for evenings when you're craving something quiet, wise, and close to the body.

Purchase Link:

🔗 Purchase from Sonja Ringo’s Website Free Shipping.

Buying direct supports the author and helps keep small press poetry thriving.

JUNE’S PICK

The Carrying by Ada Limón

Published by Milkweed Editions (4/13/21)

In The Carrying, Limón writes of illness, dementia, dislocation, fertility challenges and longing with startling clarity; all the while honoring nature, animals and family. Limón’s artistry lies in her lyricism, the ability to frame the private as communal, and her searing metaphors—a poetic sleight of hand that feels like truth blooming in slow motion.

This collection is a meditation on the tension between belonging and being unmoored. Limón also shows us how we are part of nature, and yet so often cruelly apart from it. We are all trees, she suggests, shifting slightly in variation from state to state. Her poems remind us what it means to carry things we didn’t ask for, and still find the grace to grow. One line in particular stays with me: “Imagine you must survive without running,” she’s referring to trees, in the poem Ancestors.

They say to write the book only you could have written, and I believe that’s generally good advice. But reading Ada Limón’s The Carrying makes me want to leave space for a caveat. Because this book feels like it could have been written by me, too—not in voice or virtuosity—but in how it echoes my lived experience. It stirred me to tears more than once. I felt a camaraderie with the poet and her work, and I will now forever hold this book in a special place.

Purchase Link:

https://milkweed.org/book/the-carrying

MAY’S PICK

Good Girl and Other Yearnings – Isabelle Correa

Published by Write Bloody Publishing (April 18, 2025)

“To travel back in time and tell their younger selves the real difference between lust and love is that love is a seed and lust is a bird ravenous for seeds.” —Girls Only Want One Thing.

This debut is a poetic excavation of identity, trauma, and tenderness, where the body becomes archive of both inquiry and answer. These poems span girlhood, grief, memory, desire, and reclamation, blending the surreal and the confessional with a voice that’s both vulnerable and razor-sharp. Correa bends narrative, myth, and the language of healing into something wholly her own.

“I know a tree is a wound
of the earth. I know a wound is an act
of remembrance.”

“A poem is a place / I go. It's safe / like an ambulance / is safe. / You being / inside / means / you're already hurt."

This is poetry that knows how to carry pain without glorifying it, and how to name hope without erasing struggle that came before. Correa writes like someone who’s survived and speaks with ownership.

Pairs well with: A lavender oat milk latte—comforting, floral, and quietly subversive. At just over 100 pages, Good Girl and Other Yearnings is a weighty yet luminous read.

Purchase Link:

You can purchase Good Girl and Other Yearnings from Amazon:
🔗 Good Girl and Other Yearnings by Isabelle Correa

Or directly from the publisher at Write Bloody:
🔗 Write Bloody Publishing

Buying directly supports independent poetry presses and helps ensure more books like this reach the world.

APRIL’S PICK

Fruitful – Stefanie Kirby

Winner of the 2023 Adrift Chapbook Contest

Stefanie Kirby's Fruitful is a poignant exploration of motherhood, pregnancy, and loss. This chapbook delves into the complexities of raising children during a pregnancy and the subsequent experience of miscarriage. Kirby's poems are known for their surreal and artful compactness, capturing profound emotions with striking imagery.​

At 52 pages, Fruitful offers a deeply immersive reading experience that resonates long after the final poem. It's an ideal companion for a slow morning, inviting readers to navigate the delicate intersections of joy and sorrow.​

☕ Pairs well with: A gentle chamomile tea, offering warmth and solace to complement the chapbook's introspective journey.​

Purchase Link:

You can purchase Fruitful directly from Driftwood Press: 🔗 Fruitful by Stefanie Kirby​

MARCH’S PICK

If This Is the Age We End Discovery – Rosebud Ben-Oni

Winner of the 2019 Alice James Award

Rosebud Ben-Oni's If This Is the Age We End Discovery masterfully intertwines intimate human conditions with the grand cosmos, offering a poetic exploration where science meets personal narrative. This collection navigates the boundaries of theoretical physics and Jewish mysticism. Ben-Oni introduces the concept of "Efes," a term rooted in Modern Hebrew meaning "zero," but also signifying "nullification" and "concealment" in mystical texts. This notion becomes a transformative force throughout the collection, prompting contemplation on existence and the unknown.

The poems are precisely crafted, moving through multiverses of family, religion, and discovery, much like a surgeon sewing a complicated stitch. At 100 pages, If This Is the Age We End Discovery is a substantial read that invites deep reflection. It's an ideal companion for a contemplative morning, offering a fusion of scientific curiosity and poetic insight.​

Purchase Link:

You can purchase If This Is the Age We End Discovery directly from Bookshop.org
🔗 If This Is the Age We End Discovery by Rosebud Ben-Oni​

FEBRUARY’S PICK

You Should Feel Bad – Laura Cresté

Winner of the 2019 Poetry Society of America Chapbook Fellowship

Some poems arrive like a whisper; others hit like a gut punch. Laura Cresté’s You Should Feel Bad does both, threading the delicate with the devastating, the personal with the universal. This chapbook plays in emotion like a toddler left alone with a bucket of paint—it spreads it out, presses into it, lingers in feeling until something startling surfaces.

Stephanie Burt describes Cresté’s poetry as the kind that makes you pause—on first read, you might wonder, “What just happened?” and on the second, “Oh. Yes.” That’s the magic here: an emotional terrain that shifts upon return, poems that hold nostalgia, fear, reassurance—sometimes all at once.

“I thought I wanted to be in love but really / I wanted something to do with my hands.”

This is the kind of line that stops you mid-sip. It captures the longing for longing itself. It’s in this precise, deliberate way that Cresté dissects intimacy, expectation, and self-perception—not with grand gestures, but with the quiet precision of a scalpel.

At just 16 poems, You Should Feel Bad is a brief but potent read—one that will make you want to return, reread, and reconsider. It’s the perfect companion for a slow morning, when you want something that lingers long after the last sip. Pairs well with: A strong pour-over, no sugar. The kind that sharpens the edges just enough.

Purchase Link:

You can purchase You Should Feel Bad directly from the Poetry Society of America’s website, and know you’re supporting both the poet and the organization that champions works like these. 🔗 You Should Feel Bad by Laura Cresté

JANUARY’S PICK

Girl at the End of the World – Erin Carlyle

Published by Driftwood Press

This poetry book is a haunting exploration of loss, identity, and place, unearthing the raw edges of personal and generational trauma while weaving in moments of quiet magic. At its core, Carlyle’s collection chronicles the aftermath of her father’s death, yet it resists the ordinary confines of grief poetry. Instead, these poems bend reality, embracing the surreal and the mythical—ghosts slip between lines and sorrow transforms into something luminous.

In "Opioid Crisis," Carlyle reflects on her father’s struggles, painting images that feel both deeply personal and universally resonant. Her poetry reshapes loss, reimagines it, and leaves space for the supernatural to blur with the everyday.

At 96 pages, Girl at the End of the World is a more of a slow burn—one that invites contemplation, rereading, and a slow absorption of its beauty and ache. It’s a book for those who like their poetry with a touch of the otherworldly, where grief and magic coexist in quiet, unsettling ways.

Pairs well with: A rich, dark roast coffee—something bold to match the depth and lingering mysticism of Carlyle’s poetry.

Purchase Link:

You can purchase Girl at the End of the World directly from Driftwood Press: Girl at the End of the World by Erin Carlyle

POEtic Threads!

For those of us who live in words, edit with caffeine, and revise until our eyelids stick to our scleras. POEtic Threads focuses on comfortable, wearable pieces, that nod to the writing life: for when you’re deep in the draft trenches, heading to a reading/book club, or just want to be cozy.

Check out Poetic Threads

1. The Making of a Story, By Alice LaPlante.

2. Underland, by Robert Macfarlane.

3. A Poetry Handbook, By Mary Oliver.

4. On Writing, By Stephen King

5. Poetry Unbound by Pádraig Ó Tuama

1. The Making of a Story By Alice LaPlante

A Must-Have Craft Encyclopedia for Writers.

If there’s one book that deserves a permanent spot on your writing desk, it’s Alice LaPlante’s The Making of a Story: A Norton Guide to Creative Writing.

This massive tome, seriously, it’s as big as an old phone book. It earns its place not just because of its striking cover, and it is quite beautiful on my shelf, but because it delivers an all-encompassing look at what it takes to craft compelling fiction and nonfiction. What makes this guide a standout is its dual approach: it covers both the art and the science of storytelling. LaPlante seamlessly blends theory with application, offering deep dives into essential topics like voice, character, and structure, while providing hands-on exercises that push you beyond your comfort zone. It’s the kind of book that meets you wherever you are in your writing process, whether you’re at the blank-page stage or knee-deep in revisions.

Another reason this book is a treasure?

It’s loaded with readings from iconic writers. You’re not just learning about the craft—you’re seeing it in action, with examples from literary heavyweights that make each point resonate. The readings, paired with LaPlante’s insightful commentary, give you a clear roadmap for how to apply the principles discussed. The beauty of The Making of a Story is that it’s more than just a manual—it’s a comprehensive reference book you’ll come back to time and again. It’s got the heft and depth of an old encyclopedia, making it an invaluable resource for any writer who’s serious about honing their craft.

GET YOUR COPY

2. Underland, by Robert Macfarlane.

When Creative Nonfiction Meets Poetry.

Truth be told this is (was?) not my typical read. Before Underland, I ashamedly reserved nonfiction for data-downloads in the form of Audibles on a playback speed of 2.0. I originally bought it thinking it would be a "cup-filling" book in my same genre—something to read between drafts—and it ended up being so much more. Macfarlane’s journey beneath our earth layers ancient history with poetic storytelling, turning nonfiction into a novel-like experience of its own. The prose is atmospheric and “deeply” rich.

What makes this essential for writers?

The way Macfarlane layers scientific insight with personal reflection, without overwhelming the reader in exposition. He shows us how language can evoke entire landscapes of emotions, and histories. It’s a masterclass in storytelling, environment, world building and the beauty of slowing down to truly appreciate the art.

GET YOUR COPY

3. A Poetry Handbook by Mary Oliver

Mary Oliver’s A Poetry Handbook is a compact yet deeply insightful guide for poets at all stages, but it is especially valuable for those participating in workshops. With her signature clarity and precision, Oliver dissects the mechanics of poetry: sound, rhythm, lineation, imagery, all while maintaining a reverence for the ineffable qualities that make a poem resonate. She blends practical instruction with poetic wisdom, emphasizing discipline, observation, and the necessity of reading widely.

For workshop participants, Oliver’s approach is a grounding force. She advocates for the slow, careful study of poems, urging writers to develop their technical skills rather than relying solely on inspiration. This is crucial in a workshop setting, where critique often focuses on refining craft. Her sections on revision and the importance of reading poetry aloud provide actionable insights that can help workshop writers hone their work before presenting it to a group.

What sets this book apart is its accessibility. Oliver does not overwhelm readers with theory; instead, she distills poetic essentials into digestible, applicable lessons. She makes a strong case for poetry as a craft that requires apprenticeship, not just raw talent. In workshops, where feedback can sometimes feel abstract or overly subjective, Oliver’s book serves as a reminder that poetry has structure, history, and techniques that can be studied and mastered.

Why Every Workshop Writer Should Read It

1. Craft Awareness – Workshops can be filled with feedback that focuses on how a poem feels, but Oliver helps writers articulate why something works (or doesn’t) by breaking down elements like meter, diction, and musicality.

2. Self-Editing Skills – Oliver’s discussion on revision is a crucial tool for workshopping poets, helping them identify weak lines, tighten phrasing, and refine voice before bringing their work to a group.

3. Sound and Rhythm – Many workshop poets focus on imagery and theme while neglecting the sonic qualities of poetry. Oliver reminds writers that sound is as vital as meaning.

4. Reading as a Poet – She stresses the importance of studying poetry deeply, which enhances both workshop discussions and personal writing growth.

A Poetry Handbook is a must-read for poets engaging in workshops because it provides the technical vocabulary, reading strategies, and revision techniques that make workshop participation more constructive and insightful. Whether you’re giving or receiving feedback, Oliver’s guidance will refine your poetic instincts and deepen your understanding of craft.

GET YOUR COPY

4. On Writing, by Stephen King

Part Memoir - Part Writing Advice.

I’ll be honest: I avoided this one for a while. Not because I don’t respect Stephen King’s career, but because I assumed it was geared toward horror writers. What I found instead was an entertaining and practical advice for any writer.

On Writing is King at his most distilled. He walks you through his journey—from struggling teacher in a trailer to bestselling author—not to boast, but to demystify the process. Then he shifts gears and gets into the craft: sentence structure, story mechanics, dialogue, revision. And he makes it accessible.

Why should writers read this?

Because King doesn’t romanticize writing. He reminds you that writing is both art and work, and that showing up, consistently and imperfectly, is what counts. His tone is conversational but from someone who has completed a journey and is able to effortlessly look back on it. It’s encouraging, but not indulgent. You’ll walk away with practical tools, but more importantly, with the deep conviction that yes, you can do this.

GET YOUR COPY.

5. Poetry Unbound by Pádraig Ó Tuama

I'd recommend reading this alongside Mary Oliver’s A Poetry Handbook as a kind of prerequisite for anyone entering the workshop space.

Poetry Unbound is one of those rare books that strikes a near-perfect balance between a craft book and a pleasure read. With profound generosity, Ó Tuama offers reflections that are as emotionally resonant as they are instructive. The book levels the playing field in the best way—it makes craft insight feel wholly accessible, without ever diluting its complexity. You'll find tools here that are readily up-took and transformational.

Another reason this book is a treasure to writers?

This book teaches without posturing. Each poem is approached with reverence, clarity, and curiosity. The commentary feels like a workshop in disguise—gentle but exacting, intimate but illuminating. I’ll say it plainly: I have a new goal in life: to have one of my poems reviewed by Pádraig Ó Tuama. His lens is a gift, and this book proves it over and over again.

GET YOUR COPY

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